It will probably do better than IV. Which doesn't mean much because IV made nothing. BUT! with these nominations I think he's safe for the next movie. When he got 35 millions, everyone knew they were losing money.

Very cool. Fun tidbit: I had emailed with Rian about writing a little something about The Master for C&RV back in 2012. I think he was into the idea but for whatever reason it never ended up happening.

Turns out their Rian Johnson episode just replaced (pushed back) their Phantom Thread episode. Oh well. It's still a great deep dive into TLJ.

The box office results don't have such a burden for artsy films. Paul is going to secure the funding for his next project no matter the disappointing business outcome of this film. How much of a profit does his other work have on home video and streaming?

I'm a bit surprised by that given the glowing reviews and "DDL's last movie" as the big draw. We'll see how it does since it's gotten all these Oscar nominations. Plus I have a bit of a hunch that it'll perform better in the foreign market than IV, given its setting of dressmaking in Britain and DDL, but I really don't have any evidence to support my hunch beyond that.

Edit: I saw Phantom Thread two times over the weekend at my local Landmark cinema, the first time early in the afternoon and the second time late at night on a Saturday. During the afternoon screening, there were some small groups of older people scattered about and I think one young dude by himself at the back (probably a PTA buff). And then on Saturday, the attendance was about the same but the groups were younger ... and this time there was again another lone presumed PTA buff by himself at the back, plus me by myself at the back. Ha. I found all this sort of amusing.

The box office results don't have such a burden for artsy films. Paul is going to secure the funding for his next project no matter the disappointing business outcome of this film. How much of a profit does his other work have on home video and streaming?

This is not true in the slightest. His ability to finance movies is not a given, and the box office performance absolutely matters.

Wordless Music + London Contemporary OrchestraSaturday, February 24 • Brooklyn Academy of MusicFriday, March 2 • The Theatre at Ace Hotel, Los Angeles

Wordless Music presents the U.S. premiere live score in New York (Saturday, February 24) and Los Angeles (Friday, March 2) of Paul Thomas Anderson’s PHANTOM THREAD, starring Daniel Day-Lewis, Vicky Krieps, and Lesley Manville, with music by Jonny Greenwood, and nominated for six Academy Awards, including Best Picture, Best Director (Paul Thomas Anderson), Best Actor (Daniel Day-Lewis), and Best Score (Jonny Greenwood).

In both cities, Wordless Music Orchestra will team up with principals from London Contemporary Orchestra, who recorded Greenwood’s original score for Nonesuch. Together, the orchestra will perform the entirety of Greenwood’s score, which itself is heard in more than 70% of the film, along with selections from Brahms, Schubert, Fauré, and Debussy. This event marks the third collaboration between Anderson and Wordless Music, following live score premieres for THERE WILL BE BLOOD and PUNCH-DRUNK LOVE.

I attended the Punch-Drunk Love live score event a couple of years ago at the Ace in L.A. It ultimately was worth it--but the $70 price tag (for a mid-range ticket--after all of the bullshit "convenience" fees and assorted other ripoffs) still gives me pause. I'm assuming this will cost considerably more?

I'm a bit surprised by that given the glowing reviews and "DDL's last movie" as the big draw. We'll see how it does since it's gotten all these Oscar nominations. Plus I have a bit of a hunch that it'll perform better in the foreign market than IV, given its setting of dressmaking in Britain and DDL, but I really don't have any evidence to support my hunch beyond that.

Edit: I saw Phantom Thread two times over the weekend at my local Landmark cinema, the first time early in the afternoon and the second time late at night on a Saturday. During the afternoon screening, there were some small groups of older people scattered about and I think one young dude by himself at the back (probably a PTA buff). And then on Saturday, the attendance was about the same but the groups were younger ... and this time there was again another lone presumed PTA buff by himself at the back, plus me by myself at the back. Ha. I found all this sort of amusing.

It's harder than ever to get people to go and see movies. Phantom Thread haemorrhaging money shouldn't be a surprise, sad as it is.

I'm a bit surprised by that given the glowing reviews and "DDL's last movie" as the big draw. We'll see how it does since it's gotten all these Oscar nominations. Plus I have a bit of a hunch that it'll perform better in the foreign market than IV, given its setting of dressmaking in Britain and DDL, but I really don't have any evidence to support my hunch beyond that.

Edit: I saw Phantom Thread two times over the weekend at my local Landmark cinema, the first time early in the afternoon and the second time late at night on a Saturday. During the afternoon screening, there were some small groups of older people scattered about and I think one young dude by himself at the back (probably a PTA buff). And then on Saturday, the attendance was about the same but the groups were younger ... and this time there was again another lone presumed PTA buff by himself at the back, plus me by myself at the back. Ha. I found all this sort of amusing.

It's harder than ever to get people to go and see movies. Phantom Thread haemorrhaging money shouldn't be a surprise, sad as it is.

Why do studios and financiers continue to shell out money for such projects, then? Obviously I want PTA's movies to get made. I'm becoming more interested in the topic. I see a lot of people talk about home video and streaming, but I can't see home video sales being that large, and I guess streaming rights would pay a bit, but I again can't imagine a ton from that either. Is financing for relatively smaller, artsier projects being phased out?

P.S. That new poster looks like the cover of a $1 romance novel I'd get at a garage sale. Part of me likes it as a guilty pleasure ... but it is pretty bad.

As far as home video and streaming goes, PTA has said that his films typically do pretty well there. Boogie Nights and There Will Be Blood are very popular on Netflix and Amazon Prime every time they go up, and Boogie Nights and Magnolia (especially BN) are in regular rotation on premium movie channels to this day.

Yeah, no way is that a Stanton. For one thing, Dustin for sure has the actual typefaces used to market the movie to date, and this poster uses something else—a sign it was designed by someone who didn't have the original font files and went, "eh, close enough!"